On September 11, 2025, the John F. Kennedy Center for the Performing Arts, a landmark institution in Washington, D.C., made headlines yet again by firing Kevin Struthers, its longtime senior director of music programming. Struthers’ dismissal, confirmed to both The Washington Post and NPR, marks another dramatic chapter in a year already rife with staff shake-ups and institutional change at the Kennedy Center.
Struthers, who had spent 30 years at the Kennedy Center, joined in 1995 and quickly became a cornerstone of its jazz programming. Over the decades, he managed and shaped signature events like the annual Mary Lou Williams Jazz Festival and Betty Carter’s Jazz Ahead residency, both of which have played crucial roles in nurturing emerging jazz talent and celebrating established artists. According to NPR, Struthers’ work helped the Kennedy Center become a vibrant hub for jazz, regularly inviting a roster of both celebrated and up-and-coming musicians to its stages.
Yet, on Wednesday, September 10, 2025, Struthers’ tenure abruptly ended. While he confirmed his termination to The Washington Post, neither he nor the institution provided a public explanation for his dismissal. The Kennedy Center’s press office did not respond to NPR’s request for comment about the firing or the future direction of its jazz and Millennium Stage programming.
Struthers’ firing is not an isolated incident. It is the latest in a series of high-profile departures and leadership changes that have swept through the Kennedy Center since President Donald Trump assumed the role of chair in February 2025. Trump’s appointment of Richard Grennell as the institution’s new president was quickly followed by a wave of staff turnover. In August, Jeffrey Finn, the senior vice president of artistic programming, resigned. Around the same time, the previous dance programming team was laid off and replaced by Stephen Nakagawa, who was tapped to lead the dance division.
Jason Moran, the acclaimed pianist and composer who had served as the Kennedy Center’s artistic director for jazz since 2011, also left the institution in July 2025. Moran’s departure was seen by many in the arts community as a significant loss, given his innovative approach to jazz programming and his role in elevating the Center’s profile in the jazz world. According to The Washington Post, Moran’s resignation, followed by Struthers’ firing, has left the future of jazz at the Kennedy Center uncertain.
The Kennedy Center has long been celebrated for its robust and diverse jazz offerings. The annual Mary Lou Williams Jazz Festival and the Betty Carter’s Jazz Ahead residency, both overseen by Struthers, have been key fixtures on the institution’s calendar. These programs not only showcased legendary performers but also provided invaluable opportunities for young musicians to learn, collaborate, and launch their careers. The Center’s partnership with NPR to co-present the annual concert A Jazz Piano Christmas further cemented its reputation as a leading venue for jazz in the United States.
However, as of September 2025, the only mainstage jazz event remaining on the Kennedy Center’s schedule is an October performance by The Glenn Miller Orchestra, a group that has been performing since 1939. This stark reduction in jazz programming has raised eyebrows and concerns among artists, audiences, and arts advocates alike. Many are left wondering whether the Center’s commitment to jazz—a genre deeply woven into the fabric of American culture—will persist under the new leadership.
The circumstances surrounding Struthers’ firing remain unclear. While the Kennedy Center has not provided an official reason, the move is widely viewed as part of a broader pattern of restructuring and leadership consolidation since Trump’s takeover. The Washington Post noted that these changes have sparked anxiety and uncertainty within the institution’s ranks, as staffers and artists alike grapple with the implications for the Center’s artistic direction and its role in the national arts landscape.
Some observers see the shake-ups as part of a larger trend of politicization and centralization of control at major cultural institutions. With Trump at the helm and Grennell as president, the Kennedy Center’s board and executive leadership have undergone significant transformation, with allies and appointees installed in key positions. This has led to speculation about potential shifts in programming priorities, resource allocation, and the institution’s broader mission.
For the jazz community, the loss of both Jason Moran and Kevin Struthers is particularly poignant. Moran, who joined the Kennedy Center in 2011, was instrumental in bringing a fresh, contemporary perspective to its jazz programming. His departure, followed closely by Struthers’ termination, has left a leadership vacuum that many fear could diminish the institution’s standing as a premier venue for jazz performance and education.
The reaction from artists and audiences has been one of concern, mixed with a sense of resignation. The Kennedy Center’s jazz program has, for years, been a beacon for musicians seeking to connect with new audiences and advance their craft. The abrupt changes have left many questioning what the future holds—not just for jazz, but for the broader artistic mission of the Center itself.
As the Kennedy Center moves forward under its new leadership, the eyes of the arts world remain fixed on its next steps. Will the institution maintain its legacy of artistic excellence and innovation, or will the recent wave of firings and resignations signal a more constrained, less adventurous era? For now, the answers remain elusive.
One thing is certain: the Kennedy Center stands at a crossroads. With its storied history, iconic status, and deep ties to the American cultural landscape, the choices it makes in the coming months will shape not only its own future but also the fate of the many artists and audiences who look to it for inspiration and opportunity. As the dust settles from this latest round of upheaval, the world is watching—and waiting to see what comes next.
